DESIGN TRIBAL BRACELET

Perfectly Wire Drawing Machine

A wire drawing machine includes a frame; at least one die operatively supported by the frame; at least one drawing block rotatably supported by the frame for use in drawing wire through the die; and, a motor for use in providing power. A belt system connects the motor to the drawing block so that the drawing block can be rotated. To adjust the speed and torque of the drawing block, the belt is removed and one sprocket is replaced with a second sprocket.


A. Field
This invention relates to methods and apparatuses for drawing wire and more specifically to methods and apparatuses for controlling the speed and torque of the drawing blocks used on a fine wire drawing machine.
B. Description
It is know to draw wire through multiple dies at multiple die positions of a wire drawing machine. The hardness of drawn steel wire results from the plastic deformation associated with the drawing process. The wire increases in hardness as it proceeds through the wire drawing machine. If the wire becomes too hard or brittle, breakage occurs during the drawing process or when the wire is subjected to torsion or bending.


is well-known to provide a drive system for use in rotating the drawing blocks of a rod breakdown machine. Typically, one motor is used to drive multiple drawing blocks. Such a design generally works well for its intended purpose. The problem, however, with this type of drive system is that slip at each drawing block cannot be carefully controlled. One attempted solution to this problem is to provide one motor for each drawing block. In this way, the speed and torque at each drawing block can be carefully controlled thereby controlling slip. The problem with this solution, however, is the expense of providing all the required motors. It is well-known, for example, to use twenty (20) or more drawing blocks which would require twenty (20) or more motors.
What is needed is a method and device to accurately adjust the rotational condition of each drawing block without the need for multiple motors.

Journal of Engineering for Gas Turbines and Power (ISSN 00742-4795)

Effective 1 January 2010, The ASME Journal of Engineering for Gas Turbines and Power is published monthly by ASME, Two Park Avenue, New York, NY 10016-5990.
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Abstract and Indexing Information
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Tax Registration 2126148048

Contact the Editor:

Dilip R. Ballal Hans von Ohain Distinguished Professor Director, von Ohain Fuels & Combustion Center University of Dayton KL-503, 300 College Park Dayton, OH 45469-0140 T: 937-229-3961 F: 937-229-3885 E: dilip.ballal@udri.udayton.edu

FLOWER TRIBAL

worm virus

Worm? In the computer world, the term worm will refer to a
computer program designed to replicate itself on
system (or network) computer, so the system will crash,
fussiness, or congestion.
That initial design worm program. So what is the difference with a worm virus?
It is rather difficult to find an appropriate definition for these terms. On
development, Virus and Worm mutual "loot" his territory.
Viruses are designed similar to a biological virus. So, he can breed and
attach itself to a file or program.
While the breed worms he does not attach itself
in a file. So he does not need a file or another program to
breed. He will double itself in memory only or
to create new files with a certain criteria. For example, he
forming a new file with the borrowed name of a folder or file. Or the way
is the most extreme override the existing file with the main program, so that
will cause the file is corrupted replaced with a worm program. I
think that's the fundamental difference between worm and virus.
In the development of the worm turns having a "genetic mutation"
so in addition to creating a new file, he will try to attach
itself to a file. This is troublesome! Type "gene mutation" that would
4
we discuss in this paper. That let more complete and exciting. Also, let
higher levels of soaring danger, of course ☺.
As we have done in advance that we will create a worm that
no longer pure. Hybrid was the one that really want to call it that. So, in addition to
reproduce itself in a "reasonable" in accordance with "the law worm", he
will attack and put himself in ms-word document files. With
In other words, the worm will create a macro virus program!
If you've read the book bet around with Macro Virus Book 1
and Book 2, by the same author, is considered bisalah
development ... ☺ If you're still curious about macro viruses, try searching
The second book, if it still exists in the market. Quite make
increase knowledge about the virus.
Oh yeah ... just info: macro virus first name: megatruh. While the virus
two macros named m2r (megatruh 2 Resurrection). Well ... to facilitate
memory, worm-virus, I give it a name: M3R. Stands Megatruh variants
3 Reincarnation. Cool nope?
Reincarnation code which stands to remind that
megatruh macro virus has undergone a process of changing the form of the
fatal (reincarnation). Whether it's approach to infection or form of the program.
If the macro virus books previously only dwell in the document file
or excel, this time m3r be reincarnated into an exe file! so that
level of security and assurance of success will spread up to
rank level 1. Worm or virus would be more convenient and flexible
attack if he is in the form of exe file, rather than have to hang in
a file.

LOWONGAN PEKERJAAN PT. AT INDONESIA (ASTRA GROUP) Posisi: Operator, Product: Casting and machining Component

LOWONGAN PEKERJAAN

PT. AT INDONESIA

(ASTRA GROUP)

Posisi: Operator, Product: Casting and machining Component

Syarat:

1.   Pria

2.   Alumni SMK, jurusan Mesin, Otomotif dan Elektro/listrik

3.   Berkelakuan baik, berbadan sehat, tidak bertato, bebas narkoba, tidak berkacamata dan tidak butawarna

4.   Usia maksimal 22 thn

5.   Tinggi badan minimal 163 cm

6.   Membuat lamaran dilampiri (berkas yang harus dipenuhi): CV, foto 3x4 warna, fc KTP (difc Normal dan 160%), fc akte kelahiran, fc KK, fc Ijazah (legalisir), fc Transkrip Nilai (legalisir, fc NPWP, fc sertifikat pendukung ditujukan ke PT. AT Indonesia

Pendaftaran terakhir: sesuai persetujuan antara BKK Tempat tes dan pihak PT. AT Indonesia

Tes direncanakan Februari 2013

Kandidat yang akan lulus (Kelas III) bisa di data untuk tes lanjutan waktu yang akan datang.

PT. AT Indonesia merupakan salah satu Perusahaan yang tergabung dalam ASTRA Group. Perusahaan kami bergerak di bidang Casting dan Machining Component / Part Automotive dan Non-automotive. Perusahaan kami merupakan joint venture antara Aisin Takaoka Japan dan PT. Astra Otoparts Tbk.

Dalam rangka memenuhi tenaga kerja berkaitan dengan berkembangnya perusahaan kami, maka kami memberikan kesempatan kepada Saudara-saudara yang berminat untuk bergabung ke Perusahaan kami, pada posisi:

1.   OPERATOR PRODUKSI

2.   OPERATOR MAINTENANCE

Adapun persyaratan yang dibutuhkan sebagai berikut:

1.       Pria,  Usia  Max. 22 tahun

2.     Lulusan SMK Jurusan Teknik Mesin, Otomotif, & Listrik

3.     Nilai Rata-rata 6,5

4.     Nilai Matematika Min.6,5

5.     Tidak berkacamata (minus)

6.     Tidak Buta Warna

7.     Tinggi Min. 163

8.     Berat Badan Ideal

NB: PENDAFTARAN PALING LAMBAT TANGGAL 15 FEBRUARI 2013, DI

      SMK PANCASILA SURAKARTA,JLapel No 5,Jajar,Laweyan,Surakarta

1.      Tes Administrasi

Kelengkapan Dokumen

a.     Surat Lamaran

b.     CV

c.      Foto 3x4 Warna

d.     Fotokopi KTP ukuran normal & Fotokopi KTP perbesar 160%

e.     Fotokopi Akte Kelahiran

f.       Fotokopi Kartu Keluarga

g.     Fotokopi Ijazah (Legalisir)

h.     Fotokopi Transkrip Nilai (Legalisir)

i.        Fotokopi NPWP (Bagi yang sudah punya)

j.       Sertifikat Pendukung

Using Drawing as Intervention with Traumatized Children Cathy A. Malchiodi, ATR, LPAT, LPCC

This article is reprinted from TLC's Journal, TRAUMA AND LOSS: Research and Interventions, Volume 1, Number 1, 2001

Cathy A. Malchiodi, ATR, LPAT, LPCC, is the Director, Institute for the Arts & Health and advisory board member, The National Institute for Trauma & Loss in Children, author of numerous books including,Understanding Children’s Drawings (1998) and The Art Therapy Sourcebook (1998), and published over 50 articles and chapters on the use of art intervention with children. Cathy has given more than 140 invited keynotes and presentations throughout the US and the world and is the editor of Trauma & Loss: Research & Interventions. 

Abstract: This article provides a basic overview of how therapists and counselors can use drawing as intervention with children who have experienced trauma or loss. Topics covered include: drawing as a mode of communication for children; why drawings facilitate verbal reports; how drawing helps the process of recovery from trauma; drawing tasks useful in trauma debriefing and resolution, and overall considerations for professionals using drawings in clinical work. An appendix on drawing materials is provided for those therapists and counselors who do not have experience with art as intervention with children.

Introduction

Drawing is a natural mode of communication that children rarely resist and that offers a way to express feelings and thoughts in a manner that is less threatening than strictly verbal means. For the child who has experienced trauma or loss, it helps to externalize emotions and events too painful to speak out loud and is one of the only means of conveying the complexities of painful experiences, repressed memories, or unspoken fears, anxieties, or guilt. Drawings expediently bring issues relevant to treatment to the surface, thus accelerating the helping professional’s ability to intervene and assist troubled children. A drawing can provide information on developmental, emotional, and cognitive functioning, hasten expression of hidden traumas, and convey ambiguous or contradictory feelings and perceptions. With the advent of brief forms of intervention and the increasing pressure to complete treatment in a limited number of sessions, drawing helps children to quickly communicate concerns and problems, thus enhancing the efficiency of therapist-child interaction.

Offering children the opportunity to communicate through drawing is a strategy that can easily be a part of every therapist’s repertoire. Although other modalities can help children express themselves, drawing is certainly one of the most economical. Drawings are particularly useful in trauma debriefing where sensory-based methods have been identified as helpful in disclosure and crisis resolution (Malchiodi, 1997; Pynoos & Eth, 1985; Steele, 1997).

This article proposes that therapists and counselors consider using drawing with children who are recovering from traumatic events or loss. Topics include a brief overview of drawings as intervention; why drawings facilitate verbal reports; why drawing is helpful in recovery from trauma; drawing tasks useful in trauma debriefing and resolution; and overall considerations for professionals using drawings in clinical work. An appendix on drawing materials is provided for those therapists and counselors who do not have experience with art as intervention with children.

Drawings: A Picture is Worth a Thousand Words

For more than a century psychologists, educators, and others have tried to determine whether or not children’s drawings reveal their thoughts, feelings, and psychological well-being. To some extent, a drawing is “worth a thousand words” and does reflect the child who created it. Drawings are useful in understanding and evaluating a child’s development (Gardner, 1980; Golomb, 1990; Kellogg, 1969; Lowenfeld & Brittain, 1987) (Figures 1, 2, 3, & 4), and the universal stages of children’s artistic expression are a basis for using drawing in intervention (Malchiodi, 2001a; 2001b). Children’s drawings have been used as projective measures of personality (Buck, 1966; Hammer, 1967; Koppitz, 1968; Oster & Montgomery, 1996), but have proven to be less reliable in this regard than first thought. Specific drawing tasks have also been developed and applied to the evaluation of cognitive abilities in children (Silver, 1996; 2001).

rawings as Intervention

While drawings may say a great deal about the child who creates them, what is more important are the therapeutic benefits that the process of drawing provides. In recent decades drawing has become a recognized modality in therapy with children (Malchiodi, 1990; 1997; 1998; 1999; Rubin, 1984) and has been used in the treatment of children who have been physically or sexually abused or exposed to domestic violence (Malchiodi, 1990; 1997; Riley & Malchiodi, 1994; Webb, 1991); have emotional disorders (Kramer, 1993); or have medical conditions (Malchiodi, 1999). Pediatrician Donald Winnicott (1971) noted that children’s art could be used as means of communication between therapist and child and believed that his young patients wanted to be active participants in their treatment. Winnicott recognized the value of drawing in helping children express their problems and world-views. His work affirmed that drawings can be a catalyst for increased interaction and interchange, thus expanding the effectiveness and depth of the relationship between clinician and child.

Art expression, particularly drawing, seems to be well suited as an intervention with children who are traumatized or abused because it may be easier to use visual communication than to talk about painful feelings and experiences (Malchiodi, 1997; Steele, Ginns-Gruenberg, & Lemerand, 1995). Drawing mobilizes the expression of sensory memories, and recent attention to neurobiological factors in the treatment of trauma (Siegel, 1999; van der Kolk, 1987) has enhanced understanding of why drawing can be particularly helpful in debriefing, disclosure, and resolution of trauma. Because the core of traumatic experiences is physiological, the expression and processing of the sensory memories of trauma are essential to successful intervention and resolution.

Drawing is an activity that taps a variety of senses--tactile, visual, kinesthetic--in ways that verbal processing alone does not. It is possible that drawing stimulates neurological processes that, in conjunction with trauma-specific questions and debriefing techniques, may be specifically helpful in resolution of stress reactions, intrusive thoughts, and other posttraumatic effects. Drawing and art expression provide “self-soothing” experiences, ones that are used by traumatized children to reduce stress and ameliorate posttraumatic stress reactions (Malchiodi, 1990; 1997), and the rhythmic actions involved in drawing and coloring are reminiscent of the movements used in trauma interventions such as Eye Movement Desensitization and Reprocessing (EMDR) (Schapiro & Forrest, 1997).

Facilitating Verbal Reports

Drawing is particularly useful in trauma intervention because it both facilitates children’s ability to verbalize their experiences and encourages the expression of emotionally-laden events more successfully than talking alone. Gross and Haynes (1998) conducted a series of studies to explore how and if drawing facilitated verbal reports in children, supporting the premise that drawing does indeed appear to enhance children’s communication of feelings and perceptions. In their initial investigation they compared two groups of children: one group who talked about experiences while they drew and a second who were simply asked to tell about their experiences. Children who were given the opportunity to draw while talking about their experiences did report more information than the children who were merely asked to talk. A second experiment was conducted to examine children who were interviewed with both procedures; it also revealed that children do report more when asked to draw.

These researchers hypothesized that there may be several reasons why drawings are helpful adjuncts to increasing children’s verbal reports:

• Drawing may reduce anxiety and help the child to feel more comfortable with the interviewer or therapist;Drawing may increase memory retrieval;
• Drawing may help children organize their narratives;
• Drawing may help in prompting children to tell more than they would during a solely verbal interview (Gross & Haynes, 1998).

In the field of art therapy, drawings have been traditionally used with children in numerous ways to encourage verbal expression. For example, Gabriels (1999) used a specific series of drawing directives to help children with asthma relate their experiences with breathing difficulties and to identify environmental triggers of symptoms. Barton (1999) developed a drawing protocol using simple body outlines to assess pain severity with children with arthritis. In legal contexts, Cohen-Liebman (1994; 2001) has observed that drawings are useful in obtaining information on abuse and neglect from children and in forensic interviews with child clients for court cases involving maltreatment or child custody.

Specific Drawing Tasks for Trauma Debriefing and Intervention

There are several drawing tasks that seem to be particularly helpful in situations where the helping professional encounters a child who has witnessed a traumatic event such as an accident, domestic or neighborhood violence, or has experienced traumatic loss such as the death of a family member, friend, or classmate, or even the loss of a parent through divorce or separation. In applying the drawing tasks described below, it is important to accept that children who have been traumatized do need and want to relate the terror of their experiences. For many years it was believed that children should not be asked to talk about these traumatic memories for fear of re-traumatization. However, it is now known that it is important to the recovery process to provide children with ways to express their apprehension and worries and to provide sensory experiences that mobilize the expression of these feelings in a structured manner.

Several drawing tasks are particularly useful, including:

• Drawing “What Happened”. When an individual experiences a trauma, drawing “what happened” is essential. Pynoos and Eth (1985) found that in order to successfully resolve and master a traumatic event, children must have the opportunity to recount the experience in detail. They proposed a structured interview along with drawing to facilitate this process. While it is a difficult task to recreate an image on paper of the traumatic event, most children find a degree of relief in finally being asked to describe what happened

• Drawing of Self in Relation to Trauma Experience. It is helpful to have the child “draw a picture of yourself when the trauma happened,” especially if the child did not include him- or herself in the previous drawing of “what happened.” A self-image gives additional information about how children see themselves and how they see themselves in relation to the traumatic event.
• Drawing of the Body of the Victim. In cases of violent crime, accidents, or death from natural causes such as cancer, heart attack, or illness, at some point it is often helpful to ask the child to “draw a body of the victim.” This task, when presented in a sensitive and supportive manner, can be helpful in resolution of not only stress-related symptoms, but also in identifying any intrusive or recurrent memories that the child may have about the traumatic event. Often children have lingering questions about the victim’s death that they may have been afraid to ask; children also fear what happened to the victim will happen to them or that they have in some way caused the death of the victim (Malchiodi, 1998
• ompleting a Pre-structured “Body Outline.” The use of a body outline as a therapeutic activity has been used for many years in art and play therapy (Malchiodi, 1990, 1997, 1998; Webb, 1991). This task basically involves the use of a pre-structured body outline which the child may color in a variety of ways. The therapist may take several approaches to this task with the child, depending on the child’s needs and experience of trauma. For example, a therapist might say: “We can have many different kinds of feelings when a bad experience occurs. Sometimes when something bad happens, we feel it in our stomachs like a tummy ache and other times we can get a headache. I want you to color the body outline in the places where you felt the traumatic event in your body when you first heard about it (or witnessed it, if that is the case).” The victim of a crime or accident may also be addressed through this activity, and you might ask the child to consider “where did your friend (parent, brother, etc.) feel the trauma (accident, crime) when it occurred. I want you to color the body outline in the places that you think the person felt pain when it happened.”
  
  [Many of the tasks described above are used in structured sensory intervention (SITCAP) described in the previous article in this issue of Trauma & Loss: Research & Intervention and in Steele (2001).]

Working with Physically or Sexually Abused Children

The activities described in the previous section are generally helpful in crisis work with children who have experienced acute traumas such as exposure to a single violent crime or the loss of family member or friend. However, children traumatized by physical or sexual abuse may require adaptations of these drawing interventions, and the helping professional must be sensitive to their unique treatment needs. For example, asking a child to draw “what happened” in an initial session with a child who has been chronically abused, either physically or sexually, may not be appropriate or possible. Revision of the activities to support the child’s needs for secrecy and safety is essential. The following case example illustrates one of many possible adaptations:

A six year old girl, Tessa, who was suspected of sexual abuse was referred for an evaluation. The protective service worker who initially handled her intake observed that Tessa was verbally communicative, but hesitant to discuss who in her household may have abused her. Like many children who have been sexually maltreated, Tessa was guarded about the details of her abuse and found it difficult to talk about openly.

Instead of asking her to draw “what happened,” I first asked Tessa to draw a picture of the inside of her house, the place where the maltreatment was to have taken place. Tessa liked to draw and carefully created a cut-away image of her home depicting two levels: the bottom level included a kitchen with a large tea kettle and a dining area, while the upper floor was a bedroom with numerous beds. I asked Tessa to “tell me about her drawing” of her home and she proceeded to describe the various rooms, noting that there were “lots of beds in my house because a lot of people live there.”

Because I was primarily interested in finding out who the perpetrator was, the people who lived in the house became an important topic to explore. But because of Tessa’s hesitancy in talking openly about the perpetrator, I took a different approach, one that capitalized on an unusual element of her drawing-- the large tea kettle in the kitchen. I asked her about the tea kettle and she told me that everyone in the house stopped at the kettle to get hot water for instant coffee before going to work or school in the morning. With this information, we were able to name, one by one, each person in the house in order of their leaving in the morning after having their coffee. There was only one person other than Tessa who remained in the home alone with her, an uncle who turned out to be the perpetrator; at this point, Tessa was able to draw herself and “what happened.”

In Tessa’s case, it was more beneficial to proceed at a slower pace and to use a less direct approach in using drawing as an intervention. Asking her to simply “draw what happened” would have been uncomfortable for her and counter-therapeutic. Instead, I offered Tessa another way to begin to reveal “what happened” through a series of questions and drawing interventions, respecting her needs for safety and choice in communicating her experiences and in identifying the perpetrator.


Overall Considerations

The case illustration presented above is one of many possible adaptations to the drawing intervention, “draw what happened,” that supports a child’s need for safety in disclosure when abuse or other uncomfortable experiences have taken place. It is important to remember that although drawing is undoubtedly a beneficial form of expression in trauma debriefing and resolution, drawing interventions cannot be applied randomly. Each must have a rationale and a therapeutic purpose, but most importantly, must respect the child’s need to take things at his or her own pace. When using drawings in treatment, a therapist must always consider the child’s circumstances and use art as an intervention with care and sensitivity. Other considerations in using drawings as intervention include the following:

• It is important to reinforce to the child that a simple drawing, even one created with stick figures, is helpful in communicating feelings and experiences and that putting these images on paper will assist the child in overcoming painful emotions and memories.
• In using any of these or other drawing tasks, it is important that the clinician be as curious as possible about all elements of the drawing. Asking about everything in a drawing demonstrates to the child that you are interested in his or her creation. More importantly, your questions will mobilize new information to surface and clarify for you what the child intended to express in the drawing.
• It is important to ask the child about what is not included in the drawing. For example, a child may draw an image of a traumatic event, but may not necessarily include family members or friends who were present. If someone significant to the traumatic event is not included, ask where that person is; the child may have forgotten to include that person or may wish to leave an individual out of the picture for some reason.
• Remember that drawing is not a panacea for trauma; drawing interventions will only be helpful if the therapist understands how to sensitively ask about the child’s experiences. Trauma-specific questions are key to the efficacy of drawings as intervention (Steele, 2001). 
• Finally, before using any drawing intervention the therapist or counselor should personally try the task and experience what it is like to use the activity. The availability of supervision from another professional who understands how drawing is used in trauma debriefing and resolution is critical.

Conclusion

Drawing is a natural language for children and especially for the child who has been traumatized or experienced a significant loss. Self-expression through the simple act of drawing is one of few means of conveying the complexities of crisis, repressed memories, or unspoken feelings. Drawing expediently brings relevant post-trauma issues to the surface, thus accelerating the helping professional’s ability to intervene and enhancing the efficiency of therapist-child relationship. Most importantly, it is a modality that addresses the sensory experiences inherent to trauma, and for this reason, it is a potent tool in debriefing, resolution, and recovery.


References

Barton, J. (1999). Comparisons of pain perception between children with arthritis and their caregivers. In C.A. Malchiodi (Ed.), Medical Art Therapy with Children. London: Jessica Kingsley Publishers.
Buck, J. (1966). The House-Tree-Person technique: Revised manual. Los Angeles: Western Psychological Services.
Cohen-Liebmann, M. S. (1994). The art therapist as expert witness in child sexual abuse litigation. Art Therapy: Journal of the American Art Therapy Association, 11(4), 260-265.
Cohen-Liebmann, M. S. (in press). Using drawings in forensic investigations of child sexual abuse. In C. A. Malchiodi, Clinical Handbook of Art Therapy. New York: The Guilford Press.
Gabriels, R. (1999). Treating children who have asthma: A creative approach. In C.A. Malchiodi (Ed.), Medical Art Therapy with Children. London: Jessica Kingsley Publishers.
Gardner, H. (1980). Artful scribbles: The significance of children’s drawings. New York: Basic Books.
Golumb, C. (1990). The child’s creation of a pictorial world, Berkeley, CA: University of California.
Gross, J. & Hayne, H. (1998). Drawing facilitates children’s verbal reports of emotionally laden events, Journal of Experimental Psychology, 4, 163-179.
Hammer, E. F. (1967). Clinical applications of projective drawings. Springfield, IL: Charles C Thomas.
Kellogg, R. (1969). Analyzing children's art. Palo Alto, CA: Mayfield.
Koppitz, E. M. (1968). Psychological evaluation of children’s human figure drawings. Orlando, FL: Grune & Stratton.
Kramer, E. (1993). Art as therapy with children. Chicago: Magnolia Street Publishers.
Lowenfeld, V., & Brittain, W. (1987). Creative and mental growth (8th ed.). New York: MacMillan.
Malchiodi, C. A. (1990). Breaking the silence: Art therapy with children from violent homes. New York: Brunner/Mazel.
Malchiodi, C. A. (1997). Breaking the silence: Art therapy with children from violent homes (rev.ed.). New York: Brunner/Mazel.
Malchiodi, C. A. (1998). Understanding children’s drawings. New York: The Guilford Press.
Malchiodi, C.A. (1999). Medical art therapy with children. London: Jessica Kingsley Publishers.
Malchiodi, C. A. (2001a). Using drawing in short-term assessment and intervention of child maltreatment and trauma. In A. Giardino (Ed.), Child Maltreatment (3rd ed.). St. Louis: GW Medical Publishers.
Malchiodi, C. A. (2001b). Advanced art interventions. Syllabus for National Institute for Trauma & Loss in Children Certification Program. Salt Lake City, UT: Author.
Malchiodi, C. A. & Riley, S. (1996). Supervision and related issues. Chicago: Magnolia Street Publishers.
Oster, G., & Montgomery, S. (1996). Clinical uses of drawings. Northvale, NJ: Jason Aaronson.
Pynoos, R. & Eth, S. (1985). Developmental perspective on psychic trauma in childhood. In C. R. Figley (Ed.), Trauma and Its Wake (pp. 193-216). New York: Brunner/Mazel.
Pynoos, R., & Eth, S. (1985). Developmental perspective on psychic trauma in childhood. In CR Figley (Ed.), Trauma and Its Wake (pp. 193-216). New York: Brunner/Mazel.
Riley, S & Malchiodi, C. A. (1994). Integrative approaches to family art therapy. Chicago: Magnolia Street Publishers.
Shapiro, F., & Forrest, M. (1997). EMDR. New York: Basic Books.
Siegel, D. (1999). The developing mind. New York: The Guilford Press.
Silver, R. (1996). Silver Drawing Test of cognition and emotion. Sarasota, FL : Ablin Press.
Silver, R. (2001). Art as language. Philadelphia: Brunner-Routledge.
Steele, W., Ginns-Gruenberg, D., & Lemerand, P. (1995). I feel better now! Leader’s Guide. Grosse Pointe Woods, MI: The National Institute for Trauma & Loss in Children.
Steele, W. (2001). Using drawing in short-term trauma resolution, In C. A. Malchiodi, The Clinical Handbook of Art Therapy. New York: The Guilford Press.
Rubin, J. (1984). Child art therapy. New York: Van Nostrand Reinhold.
Steele, B. (1997). Trauma response kit: Short-term intervention model. Grosse Pointe Woods, MI: Institute for Trauma & Loss in Children.
van der Kolk, B. (1987). Psychological trauma. Washington, DC: American Psychiatric Association.
Webb, N. (1991). Play therapy crisis intervention with children. In N. B. Webb (Ed.) Play Therapy with Children in Crisis (pp. 26-42). New York: The Guilford Press.
Winner, E. (1982). Invented worlds: The psychology of the arts, Cambridge, MA: Harvard University.
Winnicott, D. (1971). Playing and reality. New York: Basic Books

Straight wire drawing machine principle

Straight wire drawing machine in the control of frequency control with the configuration concise, logical, cost reduction features, while this article also detailed in the drawing machine Huichuan MD320 drive the application.
Key words directly into the wire-drawing machine synchronous frequency control
1 Introduction
Metal products in the metallurgical industry is an important part of the industry in China is a weak link, machinery, electrical equipment obsolete, hindering the development of the industry. In metal processing, Straight wire drawing machine is a common, usually used in the previous DC generator - motor group (FD system) to achieve, and now with the technology progress and drive a lot of popularity, frequency control Start the Straight wire drawing machine in heavy use, and can be achieved by drawing Variety PLC, the operation automation, process control, real-time closed-loop control, automatic meter functions.
Frequency Control System with straight wire-drawing machine with advanced technology, energy saving significant work in the normal speed range is 30:1, while 5% of the rated speed to provide more than 1.5 times the rated torque.
In this paper, a factory producing stainless steel wire drawing machine straight into the frequency transformation, for example, to illustrate the application of frequency control process and results.
2 Straight wire drawing machine frequency control system
The Straight wire drawing machine mainly for finishing out of the stainless steel wire drawing, the design process requirements: (1) Maximum drawing speed 600m/min; (2) processing varieties are three types of Line 2.8mm → Outlet 1.2mm, 2.5mm → 1.0mm, 2.0mm → 0.8mm; (3) emergency stop breakage than 2.
Straight wire drawing machine wire drawing machine is the one most difficult to control, because it is more than one motor while the tensile wire, high efficiency operation. Unlike previous water tank frequently encountered type drawing machine drawing machine and looper, allowing the mold metal wire between the various road skid. While its synchronous motor, and fast dynamic response have higher requirements. Comparison of the brittle material properties of stainless steel, the lack of high-carbon steel wire or steel cord like that kind of toughness, the process easier to pull off the job.
This system is a total of 8 11KW inverter. The electrical system is configured to loop one, installed in the first stage, the role of Rolls of stainless steel wire drawn to the drawing part, due to free spin loop, so this motor does not require special control. Drawing some six 400mm diameter drum. Each drum is installed between the cylinder arm is used to detect the location, the use of displacement sensors can detect the location of the arm, when the strands tight grip when the wire arm of the cylinder will make the arm above the downward pressures on . Eventually winding motor, the sliding of the cone part is self-support, the whole process does not change the basic paper path, so do not use the coil diameter calculation function. Eight special motor variable frequency motor power, while with a mechanical braking device.
Straight wire drawing machine logic control system is more complex, a variety of linkage between the PLC implementation. Synchronization aspects of control are all in the Kymmene MD320 drive internally and not rely on external control.
Its working principle is: According to the operator decided to work on the panel to set the speed, the speed of the analog signal into the PLC, PLC, after considering the time rate of plus or minus the slope of the output according to some of the analog signal. The main purpose of doing so is to meet jogging, wearing silk and some other operating needs. PLC output analog voltage signal while receiving all the frequency of the AI2 (AI1 also) input, as the speed of the main reference signal. The arm position sensor signal access to the corresponding drum drive inverter as a PID control feedback signal. Under the arm in the middle position, you set the value of a given PID. The system is very typical of the PID with feedforward control system, a string level, PID, as the amount of fine-tuning.
Chose Kymmene MD320 drive, is that it can easily increase the main rate to follow the fine-tuning the function of PID, but no additional control panel. Parameters in this system are as follows:
F0-03 = 2: the main frequency source X is AI2
F0-04 = 8: Auxiliary frequency source for the PID Y
F0-07 = 1: Select the main frequency of the source frequency source auxiliary frequency source X + Y
FA-00 = 0: PID reference source to the given numeric keypad
FA-01 = 4: PID set value (the value of the reference value is the amount of feedback systems)
FA-02 = 0: PID feedback value of AI1
FA-03 = 0: PID direction of action (when PID feedback signal is greater than the given time, requiring the inverter frequency output decline, to achieve a balance PID)
FA-05 = 25: PID P-value
FA-06 = 1: PID's I value
FA-07 = 0.08: PID of the D value
FA-08 = 0.1: PID? The sampling period
FA-09 = 0: PID deviation limit
Because the system depends largely on the stability of the PID function, so setting its parameters must be considered thoroughly, in the low-speed, high-speed, acceleration and deceleration, etc. are taken into account. Also in this system must be added to the differential limiting.
3 Conclusion
Optimization of parameters in the system, the device test machine speed 600 m / min is very stable, completely solve the original board high-speed synchronous instability following issues (the original only open to 300 meters / min). Comparison test through a variety of conditions, and the use of imported drawing machine DC drives, like performance, while 90-95% efficiency equipment, energy-saving rate of 40%. And electrical components of the system configuration concise, logical, compared with the original there is a large cost reduction, is indeed a cost-effective advantages.

NATURE OF THE WORK

Consider the parts of a toaster, such as the metal or plastic housing or the lever that lowers the toast. These parts, and many other metal and plastic products, are produced by machine setters, operators, and tenders—metal and plastic. In fact, machine tool operators in the metalworking and plastics industries play a major role in producing most of the consumer products on which we rely daily.

In general, these workers can be separated into two groups—those who set up machines for operation and those who tend the machines during production. Setup workers prepare the machines prior to production and may adjust the machinery during its operation. Operators and tenders primarily monitor the machinery duringits operation, sometimes loading or unloading the machine or making minor adjustments to the controls. Many workers both set up and operate equipment. Because the setup process requires an understanding of the entire production process, setters usually have more training and are more highly skilled than those who simply operate or tend machinery. As new automation simplifies the setup process, however, less skilled workers also are increasingly able to set up machines for operation.

Setters, operators, and tenders usually are identified by the type of machine with which they work. Some examples of specific titles are drilling- and boring-machine toolsetters, milling- and planing-machine tenders, and lathe- and turning-machine tool operators. Job duties usually vary with the size of the firm and the type of machine being operated. Although some workers specialize in one or two types of machinery, many are trained to set up or operate a variety of machines. Increasing automation allows machine setters to operate multiple machines simultaneously. In addition, newer production techniques, such as team-oriented "lean" manufacturing, require machine operators to rotate between different machines. Rotating assignments result in more varied work, but also require workers to have a wider range of skills.

Machine setters, operators, and tenders—metal set up and tend machines that cut and form all types of metal parts. Setup workers plan and set up the sequence of operations according to blueprints, layouts, or other instructions. Often this involves loading a computer program with instructions into the machine's computer controls. On all machines, including those with computer controls, setup workers respond to problems during operation by adjusting the speed, feed and other variables, choosing the proper coolants and lubricants, and selecting the instruments or tools for each operation. Using micrometers, gauges, and other precision measuring instruments, they also may compare the completed work with the tolerance limits stated in the specifications.

Although there are many different types of metalworking machine tools that require specific knowledge and skills, most operators perform similar tasks. Whether tending grinding machines that remove excess material from the surface of machined products or presses that extrude metal through a die to form wire, operators usually perform simple, repetitive operations that can be learned quickly. Typically, these workers place metal stock in a machine on which the operating specifications have already been set. They may watch one or more machines and make minor adjustments according to their instructions. Regardless of the type of machine they operate, machine tenders usually depend on skilled setup workers for major adjustments when the machines are not functioning properly.

Machine setters, operators, and tenders—plastic set up and tend machines that transform plastic compounds—chemical-based products that can be produced in powder, pellet, or syrup form—into a wide variety of consumer goods such as toys, tubing, and auto parts. These products are manufactured by various methods, of which injection molding is the most common. The injection-molding machine heats and liquefies a plastic compound and forces it into a mold. After the part has cooled and hardened, the mold opens and the part is released. Many common kitchen products are produced with this method. To produce long parts such as pipes or window frames, an extruding machine usually is employed. These machines force a plastic compound through a die that contains an opening with the desired shape of the final product. Blow molding is another common plasticsworking technique. Blow-molding machines force hot air into a mold that contains a plastic tube. As the air moves into the mold, the tube is inflated to the shape of the mold, and a plastic container is formed. The familiar 2-liter soft-drink bottles are produced by this method.

Workers in three distinct specialties–setters, operators, and tenders—operate injection-molding machines. Most other types of plastic machines function in a similar manner. A typical injection-molding machine may have 25 different controls that can be adjusted. Setters or technicians set up the machines prior to their operation. These workers are responsible for repairing any major problem. Operators monitor the many gauges on injection-molding machines, adjusting different inputs, pressures, and speeds to maintain quality. Tenders remove the cooled plastic from the mold, loading the product into boxes.

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4 Easy Techniques To Transfer Design On A Sewing Fabric Author : Patricia Strasser

Creativity has played a vital role in the development of various styles integrated in needlework. Various designs can now be incorporated on a sewing fabric through the following techniques: fabric stenciling, machine embroidery, waste canvass, and computer printing.

Needlework is anything that involves the use of needles when doing crafts such as sewing, crocheting, and stitching. At present, there are several ways incorporated in needlework to accessorize a fabric, which may come in various forms such as:

Fabric stenciling

A stencil, which is a template made from acetate is a popular way of customizing a fabric by drawing or painting symbols, patterns, and shapes. This makes use of a non-toxic textile paints that are washable. Allow it to set for a day and then iron pressed to stick on the cloth firmly. Stenciling is not used merely to transfer design on cloth for accessorizing. It is also one way of putting a layout for embroidery and stitching purposes to be used as traceable patterns.

Machine embroidery

This is the easiest way to put a design on a fabric because there is no need for you to map out the pattern on the cloth. A computerized machine is not a requirement at all. All you need is an ordinary zigzag sewing machine and simply follow the set of instructions that is available at Small Business Bible. The embroidery hoop is manually controlled instead of the usual computer operated machine. You can fully play around with the design by manipulating the hoop's movement to come up with customized outline.

Waste canvass

Also known as disappearing canvas, this is a network of interlaced fibers that is sewed on the cloth to be used as a guide in making cross stitch on a fabric. This is a practical way of putting a design on a fabric for your needle works. Aside from convenience, it also speeds up your work because you can directly work on the fabric without having to transfer the layout. Once done, simply moisten the waste canvass and pull under the stitches to remove the fibers.

Computer printing

This is a popular technique used when creating designs for T-shirts. The kind of printer and ink used is dependent on the type and color of the cloth. Although considered as the fastest and easiest, the downside of it is the large cost involved as compared to the other means of transferring designs on cloth. The cost of ink is just one of variables that affect the charging; not to mention the machine, electricity, and skill of the operator.

In the advent of technology, the more creative needle crafts have become. Different styles of adornment are introduced that goes well with embellishing. Craft enthusiasts are increasing in number because of the fun and satisfaction they get out of needle crafts

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Nirmala Engineering Works– Manufactures of Wire Drawing Machines

Nirmala Engineering Works is a hardcore company which has established itself as a marked up manufacturer of Wire Drawing Machines like Rod Break down Machine (RBD- Tandem & Step cone type), Intermediate Wet Wire Drawing  Machine, High Speed fine wire drawing machine, Fine wire drawing machine upto 50 swg and wire drawing accessories like Butt Welding Machine, Wire Annealing machine, Wire dies, Pointing cum threading machine, Spooler, etc suitable for Copper, Aluminium, Nichrome & Brass Wire.

Nirmala Engineering Works is a huge company engaged itself in the manufacturing of all types of wire drawing machines. It offers the most inclusive range and competitive price of Wire drawing machines to its customers. Nirmala Engineering Works focuses on present need of the wire and cable industry and provide solutions to all Industry's different sectors through production of all types wire drawing machines like Rod Break Down Machine, Intermediate Wire Drawing Machine, Wire Annealing Machine and wire drawing machine accessories etc suitable for Copper & Aluminium wire.

Nirmala Engineering Works has a good industry experience which helps them to manufacture world class Wet Wire Drawing Machines. Nirmala Engineering Works has manufactured and supplied all types of wire drawing machinery to its local as well as international customers based world wide.

Rod Break down Machine manufactured by Nirmala Engineering Works is in great demand these days by whole Wire and Cable Industries. Similar case is with other wire drawing machines as these industries serves as a core base to the industrial era.

Basically , There are two models of Rod Break Down Machine namely- Tandem type & Step cone type. These two models are identical  except  the  number  of  Rod Breakdown Machine they use . Which rod breakdown machine is most suitable to you depends on the inlet diameter of the copper & aluminium and the Diameter of the finishing wire you would like to make.

Under normal situation , the RBD inlet should be 8.0mm of copper or 9.5mm for aluminium, the rod breakdown machine is outlet should be from 1.30mm to 3.5mm. By the evaluation of inlet and range of the outlet, we also calculate the Rod Breakdown Machine Sequence Table for our customers. This rod breakdown machine is a valuable function since we guarantee our customers can have the Rod Breakdown Machine sequence table with the minimum number of Rod Breakdown Machine. Rod Break Down Machine guarantee the minimum material loss. Which means, you save not only the materials (either copper or aluminum) but also the Rod Breakdown Machine (because it last longer) . Except for this , you also save money from somewhere invisible - electricity . This rod breakdown machine  is the one most people neglect.

Nirmala Engineering Works has been serving the industrial zone from the last 25 years with its world class wire drawing machines like RBD, Aluminium wire drawing machines, Intermediate Machines, Rod Break Down Machines, Annealing Machines.

Nirmala Engineering Works manufactures the wire drawing machines to serve the industrial area with world class machines through deep research and development. It manufactures all type fine wire drawing machines, like Rod break down machines, Annealing machines, Intermediate machines, High speed wire drawing machines.